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Touring NZ 15 Touring NZ 15 - 22 March 2017 STAY IN THE LOOP Sign up to our monthly email newsletter to receive the latest news, concert reminders, and inside stories plus be in to win with giveaways and special offers. SIGN UP: chambermusic.co.nz/intheloop JOIN THE CONVERSATION Like, Post, Follow, Tweet, Comment, send us a message. There’s a great community out there ready to chat and we want to hear from you! PRELUDE SERIES Do you want more out of your concert experience? Come along to our free CMNZ Prelude Series. Enjoy artist Q&A sessions, pre-concert talks, panel discussions and Open Stage performances. For more information: 0800 CONCERT (266 2378) chambermusic.co.nz/prelude Programme Ciaccona Wondrous machine! Maurizio Cazzati (From: Hail! Bright Cecilia Z. 328, 1692) Instrumental Vincenzo Cappezuto Music for a while Two upon a Ground (From: Orpheus Britannicus, Vol. II, Z. 583 no. 2, 1702) (Chaccone from: ‘Diolclesian’) Céline Scheen Instrumental ‘Twas within a furlong of Edinborough Town Here the Deities approve (From: The Mock Mariage, Z. 605/2, published in the Third (From: Wellcome to all pleasures, 1683) book of ‘Deliciæ Musicæ’, London by Henry Playford, 1696) Vincenzo Capezzuto Vincenzo Capezzuto Canario La Dia Spagnola Improvisation Nicola Matteis Instrumental Instrumental Man is for woman made A Prince of glorious race descended (From: A Song in the Mock-Mariage, Sung by Miss Cross.) (From: Orpheus Britannicus, 1702) Vincenzo Cappezuto Céline Scheen Curtain Tune on a Ground One charming night (From: Timon of Athens, Z.632) (From: Secresy’s Song, from The Fairy Queen, an operatic Instrumental adaptation of Shakespeare’s Midsummer Night’s Dream, Z. 629 no. 13 published in Orpheus Britannicus, Vol. II, 1692) O, let me forever weep (The plaint) Vincenzo Capezzuto (From: The Fairy Queen, an operatic adaptation of Shakespeare’s Midsummer Night’s Dream published in Ah ! Belinda Orpheus Britannicus, Vol. II, 1692, Z. 629 no. 40, 1702) (From: Dido and Aeneas, Z. 626, no. 37, published in Céline Scheen Orpheus Britannicus, 1702) Céline Scheen Hark ! how the songsters of the grove (From: published in Orpheus Britannicus, Vol. II, 1692, Z. An EVENING HYMN on a ground 629 no. 40, 1702) (From: Harmonia Sacra, &c. The First BOOK, Z. 193) Céline Scheen, Vincenzo Capezzuto Vincenzo Capezzuto Strike the viol Duration 85 minutes without intermission – Programme (From: Orpheus Britannicus Book I, 1706) changes reserved Céline Scheen When I am laid (Dido’s Lament) (From: Dido and Aeneas, Z. 626, no. 37, published in Orpheus Britannicus, 1702) Céline Scheen Wed 15 March / Auckland Town Hall Fri 17 March / MTG Century Theatre, Hawke’s Bay Sat 18 March / Michael Fowler Centre, Wellington Auckland concert presented in association with Mon 20 March / Charles Luney Auditorium, Christchurch Wednesday 22 March / Glenroy Auditorium, Dunedin The Auckland concert is being recorded for broadcast by RNZ Concert Kia ora tātou Inigo Jones (who designed the Whitehall Banqueting House and St Paul’s Church in Covent Garden) imported the first theorbo to England from Italy. He was interrogated by customs officials who suspected that the unfamiliar object in the case might be some strange weapon. (Plus ça change! Violinists worry these days every time they have to board a plane with their instruments as hand luggage.) I’ve adored the theorbo and its near-cousin the archlute ever since I first came across these beautiful instruments in the 70s. It wasn’t its appearance – the extended neck supporting long resonant strings – but the sheer beauty of sound that appealed to me. What a treat it is to have Christina Pluhar and her brilliant colleagues with us to let us hear the rich sound of Baroque plucked strings. But there’s more. I am so looking forward to hearing really fine cornetto playing, wonderfully stylistic singing . and more. L’Arpeggiata’s Music for a While programme is about far more than exotic early instruments. For this programme this wonderful ensemble includes some outstanding jazz musicians to produce an enchanting and sometimes elusive stylistic blend. I’m sure that you will love this concert. So, welcome to CMNZ’s 2017 “Music Up Close” Kaleidoscopes season. I give you a personal promise that every concert in the series will be of the highest quality and yet very different from every other concert. What we’ve tried to offer you is an intriguing and highly enjoyable ready-made selection of great music covering a broad stylistic range. This is a subscription package that is varied and distinctive. Enjoy tonight – and I look forward to seeing you back at other Chamber Music New Zealand concerts in 2017. Peter Walls Chief Executive Chamber Music New Zealand Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand. Music for a while Improvisations on Henry Purcell Not For Puritans Henry Purcell and the musical theatre of the Restoration The British are renowned for their understatement, but perpetual singing’, the journalist Peter Anthony Motteux the prefaces to the scores of Henry Purcell’s music for opined in the Gentleman’s Journal in 1692; plays that the stage display what is, even by British standards, an consisted solely of singing were simply ‘unnatural’. Yet extreme form of rhetorical self-deprecation. In the 1690 there was a good deal of singing on English stages, and it preface to The History of Dioclesian, ‘Orpheus Britannicus’ was much appreciated. Purcell’s catalogue of works alone portrayed the cultural level of his compatriots in these contains some two hundred songs drawn from incidental words: ‘Thus being farther from the sun, we are of later music for the theatre; to this we must add fifty-seven growth than our neighbour countries, and must be ‘catches’ for convivial singing, twenty-four odes for festive content to shake off our barbarity by degrees.’ And in the occasions, and more than one hundred other songs. preamble to The Fairy Queen we read: ‘I despair of ever To understand the idiosyncratic path followed by the having as good voices among us, as they have in Italy.’ So performing arts in England in Purcell’s day, we must take is the old prejudice ‘Anglia non cantat’ (England doesn’t a look at the historical context. His lifetime (1659–95) sing) correct? Or should Purcell’s coy complaints rather coincides almost exactly with the period known as the be seen as an expression of national waywardness? For Restoration. When Purcell was born, the rule of the in the seventeenth century, while opera was setting Puritans was drawing to a close. Public performances out on its triumphal march all over Europe, the insular of spoken theatre were banned under the republican Eurosceptics chose a path of their own: the idea of a zealots, but not musical plays. As a result, many wholly sung theatrical performance – which constitutes resourceful men of the theatre fitted out their plays with the very essence of opera – was completely unthinkable as many musical numbers as were required for them to in the land of Shakespeare and Marlowe. ‘Experience pass as musical drama. This was a stopgap solution, but hath taught us that our English genius will not relish that it prepared the ground for a specifically English form of Christina Pluhar, Theorbo & Musical Direction musical theatre. After the end of the Puritan era in 1660 In the former their tastes ran to the saucy and frivolous. the pent-up demand for entertainment must have been At Charles express command, the female roles were now enormous, and the new King, Charles II, set his subjects played by women and not by boys in drag; Nell Gwyn, the an example of how to enjoy life. Charles had developed a star of the Drury Lane Theatre, became the most famous taste for French ways during his exile. Following the model of his many mistresses. Among other later highlights of of his Parisian counterpart, he procured himself a crack this art form were the so-called ‘ass epilogues’, speeches string orchestra of twenty-four players for his court music delivered direct to the audience (and to the animals and appointed a French-trained composer to direct it; he in question) from the back of a live donkey. The heroic relished guest performances by an Italian opera company, drama, on the other hand, captivated more by means of and sent English theatrical personalities on study trips to spectacular scenery and effects. London did not have an Paris. Charles’ cultural policy formed part of his strategy opera house of its own at this period; such a thing was of rapprochement with the great Catholic power on the hardly necessary, since musical theatre was a branch other side of the Channel – and for that very reason was of the spoken theatre. The principal roles were spoken, probably doomed to failure. In any case, neither the while specially hired singers took on supporting roles. In French nor the Italian variety of opera found sympathetic addition to the many musical and dance numbers, so- listeners among his subjects. called ‘masques’ were inserted between the acts. These sung, danced, and opulently staged plays-within-the-play Instead of opera, it was the English theatre that were a relic of the English court art of earlier times, which gained a new lease of life during Charles’ reign. Two in this way was salvaged for Purcell’s contemporaries. companies of players to which he had awarded letters An attempt was also made to preserve the heritage of patent, placed under the patronage of the King and his the Elizabethan theatre by transforming Shakespeare’s brother James, Duke of York (later James II) respectively, classics into fashionable extravaganzas, with scant regard competed for the public’s attention in London.
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